1 - Flower Travellin' Band - Aw, Give Me Air (MADE IN JAPAN, 1972)

"Recorded in Canada by a jazz keyboard player who didn't understand them, Flower's SATORI follow-up was confused, disorientated, depressed, self-deprecating and a wonderful album. The raging experimental near-instrumental jet fighters of SATORI here gave way to Middle European proto-metal of the Amon Duul 2 variety, replete with acoustic Tony Iommisms and mucho Satanic Raga. (...) 'Aw, Give Me Air' still retains the proto-metal Devilish chord changes of SATORI, but it's more Asian than demonic (...)"

2 - Kuni Kawachi & Flower Travellin' Band - Time Machine (KIRKYOGEN, 1970)

"Despite being former organist and leader of Group Sounds underachievers Happenings Four, Kuni Kawachi nailed this sucker to the floor with an entire album of classic songs, featuring the aforementioned Flower Gods in pole positions throughout. (...) And while Joe's tonsils never get the same rigorous overhauling that his Flower cohorts demand, even his most gentle contributions herein showcase 'that' voice to perfection."

3 - Akira Ishikawa & Count Buffaloes - Pygmy (UGANDA, 1972)

"This rampant album of four enormous fuzz 'n' percussion wipe-outs almost fulfils its ambition to avoid American musical influence and achieve 'its poetic truth', tromping through long grazz with Ikuzo Orita's 'super session' guitar star Kimio Mizutani in tow. (...) the eight-minute concluding grooves of 'Pygmy' devolve into a repetitive Afro-Funkadelic groove (...). This excellent experimental LP parallels the tradition of Can's Ethnological Forgery Series."

4 - People - Prayer Part 2 / Epilogue (CEREMONY - BUDDHA MEETS ROCK, 1971)

"Released in answer to Ikuzo Orita's superb 'Polydor Super Session' series of LPs, this riposte/rip-off, written by Buddhist poet/songwriter Naoki Tachikawa and organised by Teichiku Records' A&R director Hideki Sakamoto, challenged every one of Orita's projects and beat most of them cold simply by working through Orita's own blueprint line by line. (...) By the middle of side two, the tension has broken and the record starts to sound like Tim Leary's 7UP collaboration with Ash Ra Tempel, as orgasmic Gille Lettman/Rosi Muller-style female shrieks overwhelm 'Prayer'."

5 - Brast Burn - Debon Part One (DEBON, 1974)

"Emerging from the woodland murk of a single pulsing analogue synthesiser, Brast Burn's glorious chaos was a vital and catchy hogwash of Cajun chanting and slide guitar, massed sleighbells, Amon Duul I-style single note piano, recorders and tin whistles, rudimentary electronics, highly reverb'd hand drums played by people trying to convince us they possess a full kit, (...). 'Sewer mind, sewer mind, sewer mind Sue' sings the head shaman over and over. Hey, this guy thinks he's singing an Everly Brothers hit, and Sewermind Sue is Runaround Sue's errant kid sister."

6 - Itsutsu no Akai Fusen - めめずはん / キリンさん (FLIGHT 2, 1971)

"Imagine an LP half full of songs such as Erika Eigen's 'I Wanna Marry a Lighthouse Keeper' from the A CLOCKWORK ORANGE soundtrack, Mo Tucker's Velvet Underground ballads 'After-hours' and 'I'm Sticking With You', and that uber-cute ditty 'Tonight You Belong To Me' that Steve Martin and Bernadette Peters sang together in The Jerk. (...) It's a weird combination of urban torch songs, rural lovey-dovey indoor campfire, and trascendental tripped out meditative space folk."

5 - Far East Family Band - The God of Wind (NIPPONJIN, 1975)

"Ey-up, it's the Cosmic Jokers... Oops, silly me, Klaus Schultze has been at the mix again and turned Far East Family Band's Moody Blues fixation into a kosmische classic. Always utterly devoid of any sense of proportion and sonic balance, Klaus transformed the band's merely excellent second album into an entirely new beast, replete with fangs, fiery tongue and sixty-metre tail."

*All descriptions written by Julian Cope from his book JAPROCKSAMPLER
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